Episode 2: Mysterious Bond

Ink: Even after a month of going out, Tsubaki and Urabe have not done anything physical aside from their daily unidirectional saliva-dosing ritual. This episode is all about Tsubaki attempting to break that rut. Since even holding hands seems irrelevant to Urabe, Tsubaki seeks advice by questioning his friend, Ueno, and consequently ends up asking Urabe about her hobbies. In answer, she produces scissors from on her person and demonstrates a unique skill. This does not lead to any physical intimacy. Urabe does, however, end up inadvertently flashing her underwear in front of Tsubaki and later sanctions the appropriateness of said glimpse. In the following days, a spontaneous hug from Tsubaki draws a furious reaction from Urabe, Tsubaki confronts Urabe about not acting like a couple, and Urabe proves her feelings by putting Tsubaki through an intimate test of trust. Tsubaki’s passing performance is rewarded with confirmation of his bond to Urabe via her specially conjured, emotionally conductive drool. Later, Urabe swipes a finger of drool from Tsubaki’s mouth and steals a dream he was withholding from her, revealing spit as a two-way river that conveys emotion and images — exact images, unfortunately for Tsubaki — between both parties.

Phillip: This episode is interesting for me because of the frustration Tsubaki feels at going so slow with Urabe. It reminds me of The Longest Time in that Tsubaki is prepared to “wait” after he passes the aforementioned trust test. That is an interesting scene to view from an outsider's perspective. And wherever this relationship goes, we at least know that Urabe places a lot of trust in him and Tsubaki isn't the type to abuse that trust. The dream Tsubaki “shares” with Urabe also demonstrate the great sorting house that is the mind. Tsubaki can’t articulate his feeling that the relationship seems to be going nowhere, but through the metaphoric connection with the drool Urabe understands Tsubaki better and puts his mind at rest.

Episode 3: Mysterious Test Tube

Phillip: Tsubaki witnesses his friend Ueno kissing Oka, a girl in their class. This triggers a reaction in Tsubaki: he too wants to kiss his girlfriend. I mean, it’s only natural. But Urabe’s reply is to give Tsubaki a test tube with her saliva in it. He goes home, tastes it and then has a dream where he decides after Urabe sneaks a kiss from him that they should wait until they are emotionally connected. Is this Urabe subconsciously trying to show Tsubaki her way of thinking? It would be interesting and would lend credence to the idea that Urabe is the one dictating the pace of the relationship. But while Tsubaki is worrying about kisses and such, Urabe has to decide whether or not she should accept Ogata’s request to go out with him. In this we see what I can only imagine is a reference to periods, with Urabe telling Tsubaki that she wanted to wait a day to answer Ogata since she could have an “abnormal reaction.” If there were no reaction from Ogata, he would not and could not ever connect with Urabe. This goes back to Tsubaki’s dream reference to emotionally connecting. I don’t want to step into an area I know little about, but it seems to state that girls only go out with guys they know are compatible with them (Urabe and Tsubaki), while guys go out with girls they think will be compatible with them (Ogata and Urabe). Weird dreams are nowhere to be seen in this episode, but it’s relatable to see Tsubaki worry about not being “worthy” enough to date Urabe. But in the end, like most blokes who stay true to their girl, he really doesn’t have anything to worry about.

Ink: I’ll wholeheartedly agree about how natural the need to compare one’s own romantic “progress” to that of your close friends. This naturalness is also represented in the bashful way Ueno and Oka keep themselves a secret. Tsubaki and Urabe are keeping the same secret, but there’s a little less of a bashful sense of it than there is one of unknowing tinged with that inescapable sense of shame that comes from outgrowing one’s youth and desiring what one once thought of as disgusting. Isn’t that what this series is all about, trying to make the unfamiliar and disgusting somewhat appealing? With this episode, especially via the titular mysterious test tube and its mixed tidings as first kiss and passive-aggressive admonishment of the same, the series does an excellent job of getting into the bewildered mindset of a newly sexually awakened youth (in this case, one that longs for a simple kiss against time which seems an eternity).

Episode 4: Mysterious Girl Meets Girl

Ink: This episode reminds me of Marie Howe’s, “Practicing.” Oka decides to befriend Urabe via the lure of home cooking (handfed nonetheless) after casually coming upon hers and Tsubaki’s afterschool spit swapping ritual. The pair of females unwittingly (at first) hold an experiment in the privacy of a dark, deserted nurse’s office via a shared bottle of soda. Urabe doesn’t entertain the notion that her own drool can affect another girl, so sharing a drink with Oka doesn’t pose any cause for caution. The consequences, however, reveal a deeper connection between the two girls that manifests in two ways: Urabe develops a taste for Oka’s cooking, mentioning at one point that her “body rhythm changed,” and it is revealed that not only can Urabe’s spit transfer emotions and mental images but physical wounds as well (skinned knee from a track accident and self-inflicted cut on her hand). Though both girls have boyfriends, they’re very interested in the bond itself and experimenting with it. The magic realism, already offered via transfer of emotions, thoughts, and dreams, gets a welcome physical manifestation, but this whole episode seems an excuse to fettishize the drool exchange by exploiting such themes as lesbianism, cutting, and cosplay (gym clothes).

Phillip: There’s an element of voyeurism to Oka observing Tsubaki and Urabe and not saying anything. I’m not saying that it doesn’t contain themes as mentioned above, but for me the most interesting angle is that Oka could blab to the whole school about Urabe and Tsubaki, but she doesn’t. She wants to keep Urabe’s “uniqueness” to herself. Why does she want to talk with Urabe alone? She says it was because she didn’t want to cause trouble for Tsubaki by approaching him but still, she completely focuses on Urabe. And in the nurse’s office, she drinks cider, an alcoholic drink traditionally, which would lower her inhibitions. What the hell is that scene about? Personally, the mix of two girls, booze and secrets makes it more confessional in nature than anything else, in my mind. Urabe needs Oka to be more human as it were, and Oka with her weird voyeur tendencies needs Urabe to be normal. If you can believe that.

Episode 5: Mysterious First Date

Phillip: After seeing Urabe in her swimsuit in school, Tsubaki decides to invite Urabe to the beach because on a unconscious level he wants to see her on his own in a swimsuit. But like most guys in a relationship, he gets more than he bargained for when, after waiting weeks for the chance to see her, they go to the beach with her sporting a tan after spending time with her family (who curiously we don’t meet or see) and him wanting to see what her whole body looks like. Now most other shows would have him wanting a peek at her undressing, but they don’t do that. Instead we see her untying her bikini skirt to reveal her wearing bikini ends and a tan line where her panty scissors should be. Also, I can’t help but feel the shows producers and writers are trying to show Tsubaki is a good kid, because early on in the episode, the guys are practising goals in school with the teacher but deliberately kicking the ball over the hedge so they can peek at the girls practising swimming. Tsubaki is the one to try and check out Urabe but when he sees her through the hedge he slips and doesn’t kick the ball. Is that Tsubaki self-sabotaging his “shot” at Urabe? It stands to reason, in his mind at least, he doesn’t need to do that because his relationship with Urabe is his and his alone. And before you ask, Ueno sneaks a peek at Oka, so it’s not about Tsubaki having a girlfriend that he doesn’t do it.

Ink: The approach used to introduce the poolside peeping at the beginning was impressively subtle for such a brazen show; winks and smiles, no-one in gym being able to properly kick a soccer ball/football, and the earnestly delivered compliments (instead of jeers) for such, all let viewers know something is not what it appears to be. Unlike Phillip, I’d argue that the only thing sabotaging Tsubaki’s shot at Urabe here is his respect for her, which is genuinely nice to see. Tsubaki’s embarrassment at spying Urabe through the trees, when they lock eyes for a moment, throws Tsubaki off, causing him to miss the ball. I’d like to think his botched peep was a combination of that unspoken warning from Urabe and an inner voice that realized the truth behind her glance. Aside from a couple really well-written and timed jokes towards its end, I think the episode falls apart from there. Don’t let Philip mislead you. Although Tsubaki indeed does not try to catch Urabe undressing, he does swim underwater to watch her body very closely ... only to be saved by a horribly flimsy excuse and an overly accommodating Urabe. Or is that a very forward hint?

Mysterious Girlfriend X is now streaming on Crunchyroll.

In what is assumed to be contemporary Tokyo, the Tsutsumi Housing Complex has experienced a series of unexplained deaths over the last three years. Responsible for the string of death is an old man, called “Old Cho” by his neighbors, with a child-like mind and strong extrasensory powers. His motives are that of a child — he sees something he wants, and takes it at the expense of the life of the owner. This may seem a spoiler, but despite the mystery tone of the narrative's first half, it is clear to the audience who is responsible very early on. The first half deals with the investigation of one of Old Cho's recent victims, switching between different members of the team encountering befuddling clues and strange events. Tensions deepen as a policeman and the head detective become the next victims. Simultaneously, another story unfolds as a young girl, Etsuko, who also has unexplained powers, becomes aware of the old man's actions. The situation escalates as “Old Cho” reacts defensively to the threat of another being with similar powers. Midway, the story shifts from the slower paced mystery to a frenetic sequence of events, leading to a violent telepathic showdown between Cho and Etsuko.

The investigation angle is played throughout, but ultimately adds little to the narrative. It is intended as a way to explore the mystery of the unexplained deaths, helping the audience piece together facts over time, but it would have been more effective if the audience weren't already aware of the culprit's identity. Furthermore, the activities that prompt the climactic confrontation and eventual resolution are entirely independent of the investigators. Etsuko recognizes Old Cho's powers without any prompting from the investigation, as she just happens to notice his silent manipulations while playing in the park one day. It would have been more sensible to focus on developing Etsuko and exploring the mind of Cho, downplaying the investigative element.

As for Etsuko, the audience never really gets to learn much about her, making her more plot device than person. Where the graphic novel truly succeeds, however, is in the latter half, the battle between Cho and Etsuko. The pacing rapidly accelerates, and becomes an unrelenting feast of manga action as the two wreak havoc in their attempt to destroy the other. This confrontation is one of the better action sequences in manga, without any of the messy linework or problematic pacing that often hurt the flow of such scenes. The final pages are absolutely brilliant with an eerily low-key finale that highlights the theme of the mysterious mind of children.

This hyper, telekinetic thriller defines Domu, and leaves little room for anything else — Otomo's tale doesn't use the story as a platform to tackle issues with any significant depth. That said, he does utilize some interesting concepts throughout, but as setting and not commentary. For example, link between a child's mind and psychic powers is the central theme of the story, but Otomo didn't really explore this until his work in Akira. Still, setting is an important facet of a story, and used effectively in Domu to develop the atmosphere of his work. Inspired by Otomo's own experience moving to Tokyo, the apartment complex in Domu evokes the feelings of congested urban life. In an interview with Yomiura, Otomo commented on the people living in a recently developed public housing complex, saying that they "never seemed to adapt to this sort of crowd urban living, but they found themselves trapped in that world." That feeling comes across very well in Domu, and serves as an effective backdrop for the story.

Domu is very much in the tradition of science fiction short stories, such as those found in “zines” like Amazing Stories and Analogue Science Fiction. This style of SF generally de-emphasizes characterization in order to focus on ideas. In the case of Domu, this is the battle between two extrasensory “children.” My attraction to Domu most likely comes from to my fondness for this mode of classic science fiction. Otomo weaves a clever narrative comprised of Old Cho, the subtle noir-esque atmosphere surrounding the apartment complex, and the captivating energy of the explosively violent climax. One strength of the lack of relatable characters is that there isn't really much impact when they are killed; this may sound like a bad thing, but I appreciate that I can enjoy the story for what it is without being weighed down by emotionally manipulative drama. My only significant complaint is that I wish the investigative aspect were better weaved into the overall narrative.

As expected of Otomo, the artwork is incredible. The character designs stand out against manga's tendency toward over-the-top designs; Otomo's story is populated by everyday Tokyo residents who are appropriately plain, but readily distinguishable from each other. I find it amusing that, simply by resembling ordinary people Otomo's designs seem out of the ordinary in manga. Outside of character design, the visuals are extremely capable at presenting the feel of the story. During the slower-paced beginning, the level of detail is adequate and realistic in a way that doesn't really push the reader forward or force the reader to slow down and carefully examine the scenery. Many of the more dramatic scenes take place at night, when Otomo utilizes high black and white contrast to maintain a consistently foreboding atmosphere. Many panels in these night scenes feature well-formed lit apartments that create geometric visual interest and highlight the urban claustrophobia. As the pacing increases during the battle, the artwork elevates to a cinematic feel with further gorgeous night scenes and thought-out aesthetic composition that adds a certain stark beauty to the rampant urban destruction.

The entirety of the manga is highly readable, with a level of visual clarity that allows the reader to easily follow the story without ever getting dragged down. Panels instantly fixate the reader's eye on the key detail, and even the scenes of destruction are structured in a way that the reader doesn't get lost in speed lines and rubble. Otomo often uses sharp contrast and minimal shapes to create panels that are instantly comprehensible for an energetic reading of the plot, but are designed with enough artistic merit to reward a slower re-reading. According to Frederick L. Schodt in his classic text Manga! Manga! The World of Japanese Comics, manga is a medium meant to be digested quickly. While there are many titles that seem to disagree with this assertion, if this is accepted as an ideal for the medium, then Domu is a demonstration of Otomo's mastery of the “language” of manga — balancing clear readability with high-quality aesthetic design.

Dark Horse's 2001 release is long out of print, but you can find an inexpensive copy online. Ebay currently has copies up for the startling prices of upwards of $45 and one Amazon listing shows even higher. However, I discovered that Domu is listed on Amazon twice, with the second featuring much better prices — as low as $1.65 for a copy described as “dirty” and another for $13.99 that claims to have been kept in a protective sleeve, “since day 1.” Domu is completely worth picking up for fans of Otomo and dark speculative fiction who enjoy works outside of hard sci-fi. Many anime fans demand high characterization to be a focal theme to enjoy a piece of writing, but Domu absolutely excels at what it is trying to be — a strong example of short story comic writing that is able to capture a compelling atmosphere and engaging action in a tremendously fun way.

Medium: Manga (1 volume) 
Author: Katsuhiro Otomo
Genre: Science Fiction, Action, Mystery
Publisher: Kodansha (JP), Dark Horse (US)
Serialized in: Young Magazine (JP)
Demographic: Seinen
Release Date: 1982 (JP), 1995 (US)
Age Rating: Not Rated (we'd say about 16+, though)

Like an ant can lift, Conker can drink 10 times his weight in beer. Unlike an ant, Conker will soon be staggering about and puking every few paces after he downs that final glass or chugs the keg dry. Though to be fair, I’ve never seen a post-work ant (lies). So why tolerate this lightweight? Well, once Conker’s starts imbibing, he’s not gonna stop. In the immediate, this is a good thing. Conker can be convinced to buy rounds when it’s not his turn, and he is an animated conversationalist, with a wry sense of humour to boot. Even when things go sloppy and Mr. The Squirrel opens up his shorts to relieve his bladder from all that beer (despite the presence of company or lack thereof), Conker can keep his drinkin’ buddies safe from fire imps and rock monsters by turning all that ingested yellow liquid into ... pressurized yellow liquid. So why welcome him back to your table? Didn’t I just mention he can save you from fire imps ... with his pee?! The squirrel spites his liver ... for you, and you don’t appreciate him? Sheesh.

Well, consider this: all that drinking costs. To replenish that cash (and with it, memories and time) of which he's been duped, Conker will need to earn some dough. Being menaced by an operatic mountain of poo? All conker needs is a gas mask and his trusty B button. Have a dinosaur that needs to be hatched? Sacrificed? Either way, Conker needs the cash just enough to get it done. Vampire bat needs feeding? Conker’s in the know! Hornets made off with your bee hive (yet) again? Conker’s willing to infiltrate THEIR hive to get it back for you! Nazi teddy bears want to be Nazi teddy bears? %@*& that ^#$&! Conker'll show ‘em what-for! So use him. Abuse him. So long as he has a weakness for beer and a need for cash, Conker will be the one living adventure after adventure, racking up stories to slur while wearing the crown at the bar of great drinkers. 

Friday

Saturday